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The story goes like this: a hillbilly met a puppeteer. I’ll leave it up to you to decide which was Kate and which was Max.

I’m not sure what happened after, but the result of that meeting has sprung some sweet and charming melodies I can’t help swaying to. This folk-pop album doesn’t pack much punch, but I get the feeling that that wasn’t what Kate & Max were going for anyway.

The Great Unseen is the Brisbane duo’s debut E.P., six tracks of an easygoing adventure that reminds me of warm summer days and flyaway hair. That is to say, not everything in the album is a trip down happy lane. Max’s dulcet tones lend a heavier anchor to tracks like Lost Sea and Closed Eyes, purring “I’ve got closed eyes, so blind to what you want” to match Kate’s soulful and mature voice.

There’s an elegance in their songs that transcends the lyrics and simplicity reverbs in the whole record; down to the inquisitive guitar plucking and lyrics beautifully sang. The pair strikes a comfortable balance with their clear vocals and bright and expectant melodies.

Kate & Max remind me of a mellowed-out Florence Walsh (of Florence + The Machine) with a heavy dose of Bon Iver, sans their respective dramatic flair, replacing it with a bright-eyed and fresh new pair of eyes set on experiencing the world.

The title track of the E.P is youthful and spry, fusing well with its promise to escape into the great unseen. The lyrics aren’t much to write home about but I’ve found yourself murmuring “I know, I know, I know, I know, I know, I know, I know, I know nothing” without meaning to and damn if it isn’t catchy.

The clear winner and takeaway of the record, however, is To Anyone Else. It punches a dolorous and melancholy chord, with Kate’s saccharine voice taking a back seat for a deeper and stronger cadence that brings out the emotion of the song. Laced with both an acoustic and electric guitar, this track doesn’t exactly make me want to hum along to it but it did leave me grasping at straws to find out what the heck made me so emo (for a lack of a better word) all of a sudden.

An array of local Brisbane musicians assisted the duo in the production of their E.P, citing friends from Millions and Moonfleet for background guitar and keyboard, with mastering done by Nick Peterson (Bon Iver).

The songs are distinctive in their own right but flow well throughout the album, which is no mean feat for a debut E.P. and for a band that’s been together for less than a year. The tracks don’t appear disjointed and jarring, and they give a pleasant and sweet trippy feeling, as if I’m lightheaded from too much helium and frankly, I can’t be happier with it.

ABOUT US

Krytyk Kollektiva whittles out the latest and greatest music from Brisbane to Berlin, mined by our team of creative and critical writers to show you what we think is a hit or miss.

4 writers, one thought: to educate. To inform our audiences of diverse music, whether it’s a new opinion on a well known act, or a great band in a country with only religion for entertainment. We source the content and assess its success.

But regardless of what we think, it is you the audience that has the power to sit up and listen.

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JULIAN

I’m Julian. I fucking love Weezer and Nirvana. I criticise everything from albums to pieces of toast. I listen to all sorts of music from hardcore to classical. Listening to music takes up all my time. When I’m not listening to music, I’m thinking about listening to music. I drink way too much Coca Cola and sleep way too little, so excuse me if somewhere mid-blog it only reads, “ZZZZzzzzzZZZzzzZZZ.”

JES

Pleased by clean hands, black coffee and resort soundtracks, I, Jes, always aim to prompt thought and inspire action in my work. I love electronic and avant garde music, generally sourced from the past, the Scandinavians, the states or my backyard. I write in the hopes that I can share something a little left of centre with my readers, challenging their thoughts on "real" and authentic music and the role of the Critic as the educator. I hate jazz.

AZZY

AzzyI am the spirit of wanderlust, the keeper of the keys of songs. I don’t bite down on my words and I sink my teeth in the gaps and breaths of every chorus. I weave through indie and land on folk, pop, the occasional rock. Also, if you pretended you understood everything I just said, you’re a tool. I’m everything your mom didn’t warn you about. I’m serious about the music bit though.

YING

I am Ying, a mixture of contradictions. I have a strong belief that perfect music should live within an environment in the right time, right place and with the right person. That is why I never set up my favourite song as my alarm clock! I criticise the music I am passionate about. In that case, you may recognise my opinions purely as a music lover or hater. But remember, sometimes, “how much love” and “how much hate” can be turned in to each other, as I said before, a mixture of contradiction!